Import metal cds in Heavy Metal Music

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"Minas Morgul" (10/16/1995) Heavy Metal Summoning, SPV

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"Winternight Tragedies" (06/25/2005) Heavy Metal Catamenia, Massacre Records (UK)

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"Massive Killing Capacity [Remaster]" (06/20/2005) Heavy Metal Dismember, Regain Records (UK)Dismember: Matti Karki (vocals); David Blomqvist, Robert Senneback (guitar); Richard Cabeza (bass); Fred Estby (drums). Additional personnel: Lisa Junegren (organ). All songs written by members of Dismember. CD contains 4 bonus tracks.

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"Asmund Fr?gdegjaevar" (09/16/2003) Heavy Metal Lumsk, Tabu (USA)

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"Evolver" (07/22/2003) Heavy Metal 311, Volcano Records (Japan)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. 311: Nicholas Hexum (vocals, guitar); S.A. (vocals); Tim Mahoney (guitar); P-Nut (bass); Chad Sexton (drums, percussion). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Nicholas Hexum (vocals, guitar); S.A. Martinez (vocals); Tim Mahoney (guitar); Chad Sexton (drums, percussion). Recording information: The Hive, Vancouver, British Columbia, Canada. Directors: Steven Oritt; Joe Lynch. Photographer: Ron Ulieny. One of a plethora of long-lived bands to have realized the potential of a strong grassroots following, 311 had been pushing its particular amalgam of toke-friendly rock, funk, and rap for over a decade by EVOLVER's release. It finds the collective riding similar rhythms and mining similar lyrical veins to 2001's FROM CHAOS, the main difference being that this year's model sounds more confident and willing to take risks. The lilting intro to "Crack the Code" presages a cruise through reggae, rap, and Californian punk rock influences, while "Beyond the Gray Sky" meanders soulfully along its jazzy, low-key path before climaxing in a cascade of neo-psychedelia. Speaking of which, "Seems Uncertain" confounds jaded expectations by steering just such a pastoral course through its entirety, eschewing the regulation collapse into thundering guitar amplitude. EVOLVER is full of such surprises.

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"Live Bait for the Dead [Limited]" (08/23/2005) Heavy Metal Cradle of Filth, Recall (UK)Cradle Of Filth: Dani Filth, Sarah Jezebel Deva (vocals); Gian Piras, Paul Allender (guitar); Martin Powell (keyboards); Robin Eaglestone (bass); Adrian Erlandsson (drums). Live Bait for the Dead is another in a string of high-quality (and sort of cynical) cash-ins for Cradle of Filth: odds 'n' sods compilation Bitter Suites to Succubi, best-of collection Lovecraft & Witch Hearts, and live DVD Heavy, Left-Handed and Candid all saw the light of day during the three years between studio albums Midian and Damnation and a Day. In fact, those in possession of the aforementioned video will recognize disc one of Live Bait as the exact same live set -- recorded April 11, 2001, at Rock City in Nottingham, England -- which is the centerpiece of the DVD. Sure, it's a high-quality recording, and the performance and set list are impeccable, but it's ultimately redundant, and strictly for fans only. Disc two consists of mainly filler: three remixes of varying degrees of uselessness, two soundcheck recordings, a demo, a curious, tossed-off instrumental track ("Deleted Scenes of a Snuff Princess"), and an entertaining cover of Twisted Sister's "The Fire Still Burns" (originally found on the tribute album Twisted Forever). On the plus side, the CD packaging of Live Bait is gorgeous and intricately designed -- an apparent enticement for Cradle completists and collectors to track down this far-from-essential rehash. ~ John Serba

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"Zero Tolerance" (09/21/2004) Heavy Metal Mantas, DemolitionZERO TOLERANCE is the 2004 solo release from Mantas, best known for his work with the heavy metal group Venom.

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"Metal Law" (06/15/2004) Heavy Metal Majesty, Massacre Records (UK)This import has a lot of Majesty: a double disc collection of live material, and a DVD of the band in concert, pounding out their mighty metal licks.

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"Death Penalty" (06/12/2001) Heavy Metal Witchfinder General, Revolver UKWitchfinder General: Mathew Hopkins. Unlike many of their New Wave of British Heavy Metal peers who injected their music with a certain punk attitude, Witchfinder General drank strictly from the Black Sabbath fountain. Their 1982 debut, Death Penalty, is a celebration of all things Sabbath -- from the plodding rhythms of "Burning a Sinner" and "R.I.P." to the early-Sabs intro of "No Stayer," and even the band's rocking "Paranoid" knock-off, "Free Country." Singer Zeeb Parkes' range is rather limited, but that never stopped Ozzy Osbourne, and his mostly satanic lyrics are especially amusing on the cryptic-sounding opener "Invisible Hate," which eventually resorts to shouts of "more beer." Despite similarly silly lyrics, the song that bears the band's name is definitely the album's highlight, thanks to its engagingly ferocious main riff. ~ Eduardo Rivadavia

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"Black Metal" (03/08/2002) Heavy Metal Venom, Neat RecordsIncludes liner notes by Dave Ling. All tracks have been digitally remastered. Metal monsters Venom have their own forge from whence comes BLACK METAL, their second disc, released 1982. This remastered reissue contains nine bonus tracks culled from various sources: BBC Radio sessions, studio outtakes, and versions from singles and EPs. U.K. issue with nine bonus tracks. Embossed slipcase. Newcastle natives Venom had exploded across the U.K. in 1981, unleashing one of the most reviled, unapproachable, and, well, toxic debuts in rock history with their landmark Welcome to Hell opus. An unprecedented example of sonic excess applied to the lowest fidelity recording available (or even imaginable), the album wielded its satanic subject matter and uncontrolled speed like a weapon against all that was considered tasteful and refined in music -- a true Frankenstein's Monster, even by heavy metal standards. Needless to say, it was ruthlessly derided and ultimately doomed commercially, but amazingly influential nevertheless, sowing the seeds of much that would be referred to as "extreme metal" in the coming decades. Released hot upon the heels of this first assault came Venom's nearly as crucial second album, 1982's Black Metal, whose title alone still lends itself to the most uncompromising strain of heavy metal in existence today. Like Welcome to Hell, Black Metal revealed a trio of visionary village idiots grappling with forces beyond their control (i.e., creative developments so groundbreaking they themselves had little control over its final destination, nor the technical ability to match their vision, more often than not). And yet, that epitomizes Venom's enduring mystique, carried forward here by another slew of proto-thrashing classics like the title track (introduced by a chainsaw, no less -- how subtle), "Raise the Dead," and "Acid Queen." Further highlights include the surprisingly complex "Leave Me in Hell," the unusually goofy "Teacher's Pet," and the absolute classics "Bloodlust" and "Countess Bathory." Also on hand as the LP's final track is the introduction to the 20-minute epic "At War With Satan," which would take up their next album's entire first half in what proved to be a fatefully ill-conceived (and executed) overextension of the band's capabilities. And while no single track here would match the impact of first album nuggets like "Witching Hour" and "Angel Dust" in terms of future influence (the aforementioned "Countess Bathory" possibly being the sole exception), taken as a whole, Black Metal is right up there with its predecessor. [Neat/Sanctuary's 2002 reissue features an additional nine tracks -- all rarities -- and killer packaging to boot, making it the definitive version to own.] ~ Eduardo Rivadavia

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"Metal Millenium" (11/24/1998) Heavy Metal Various Artists, Dressed To Kill (UK)Performers include: Sepultura, Biohazard, Mercyful Fate, Malevolent Creation, Fear Factory, Lost Souls. Contains 30 tracks. Metal Millennium collects from metal and industrial bands like KMFDM, Type O Negative, Flotsam & Jetsam, and Front Line Assembly. Nailbomb's "Religious Cancer," Sepultura's "Bestial Devastation," Fear Factory's "New Breed," and Biohazard's "Tears of Blood" are among the highlights of this compilation of modern metal. ~ Heather Phares

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"Goremageddon" (05/27/2003) Heavy Metal Aborted (Metal), Listenable RecordsThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. GOREMAGEDDON is a fatal blast of death metal by Aborted. Extreme, bloody, and loud! Gore-themed, speed-obsessed death metal in the year 2003? Songs about rotting flesh and botched medical procedures? Yes, Aborted is treading on familiar ground with its third full-length, Goremageddon, but the band could obviously care less. It gives off the impression that playing another kind of music -- say, one without disgusting song titles and constantly pummeling guitars and drums -- is out of the question. But like fellow "-ed" bands Exhumed and Impaled, Aborted approaches the genre with a mix of sarcasm, seriousness, and songwriting smarts that allow the group to pull it off, in spite of how worn-out the whole premise is. Aborted attacks with the ferociousness of a good hardcore band, but the group also knows how to write riffs that stand out and draw the listener in amid the 300 bpm drumbeats. Meanwhile, the grotesque, dive-bombing guitar solo on "The Saw & the Carnage Done" shows the band's expertise in yet another crucial category for bands in the gore metal field. In the grand scheme of things, Goremageddon is not essential, but it is well done and entertaining enough to recommend to fans of the genre. ~ William York

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"Nihilist (1987-1989)" (04/05/2005) Heavy Metal Nihilist (Metal), Threeman Recordings (UK)Nihilist was only a footnote in the burgeoning Swedish death metal scene of the late '80s, but they were an important footnote. Four of Nihilist's members -- singer L.G. Petrov, guitarist Alex Hellid, bassist Johnny Hedlund, and drummer Nicke Andersson -- went on to become members of Entombed, one of the most important bands in the history of Nordic death metal. Some Entombed fans would argue that Entombed was really Nihilist with a name change; others would counter that no, Entombed and Nihilist were two separate bands just as Mother Love Bone and Pearl Jam were two separate bands. At any rate, Nihilist's demos have historic value -- which is why death metal historians need to be aware of this 48-minute CD. The main focus of The Nihilish Demos is, as the title indicates, demos that the short-lived band recorded in 1988 and 1989. Nihilist never provided an official full-length album, and these demos are the only chance to hear what they sounded like in the studio. Not everything on this disc is by Nihilist -- the last three tracks are from Entombed's But Life Goes On demo of 1989. But Nihilist is the main focus, and their demos capture the primal, raw, punk-minded spirit that death metal had in the beginning. In 1988 and 1989, death metal was something new -- it was very much an outgrowth of thrash metal, and the thrash influence is quite evident on Nihilist's demos. However, Nihilist's work was more extreme and over-the-top than the thrash metal that Metallica, Exodus, and Megadeth were providing in the late '80s; Nihilist was seriously into Slayer and Death, and one hears both of those influences on this disc. The Nihilish Demos won't win any awards for its audiophile-like sound quality, but the urgency of the performances comes through -- and while this 2005 release isn't recommended to casual death metal listeners, it is easily recommended to Entombed fans who consider themselves death metal historians and hardcore collectors. ~ Alex Henderson

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